DOCSLIB.ORG

February/March 2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
February/March 2014 The PHOTO REVIEW NEWSLETTER February / March 2014 Robert Heinecken Cybill Shepherd/Phone Sex. 1992, dye bleach print on foamcore, 63"×17”. (The Robert Heinecken Trust, Chicago; courtesy Petzel Gallery, New York. © 2013 The Robert Heinecken Trust) At the Museum of Modern Art, New York Exhibitions PHILADELPHIA AREA Germán Gomez “Deconstructing Cities and Duos,” Bridgette Mayer Gallery, 709 Walnut St., Philadelphia, PA 19106, 215/413– Alien She Vox Populi, 319 N. 11th St., 3rd fl., Philadelphia, PA 8893, www.bridgettemayergallery.com, T–Sat 11–5:30 and by 19107, 215/23 8-1236, www.voxpopuligallery.org, T–Sun 12–6, appt., through February 22. March 7 – April 27. Includes photography. Graffiti, Murals, and Tattoos “Paired,” Bucks County Project Artists of a Certain Age Philadelphia Episcopal Cathedral, Gallery, 252 W. Ashland St., Doylestown, PA 18901, 267/247- 3723 Chestnut St., Philadelphia, PA 19104, 267/386-0234 x104, 6634, www.buckscountyprojectgallery.com, Th–F 12–4, F–Sat daily 10–4 and by appt., through February 28. Includes photogra- 1–5, March 8 – April 6. phy by William Brown and Arlene Love. David Graham “Thirty-Five Years / 35 Pictures,” Gallery 339, Donald E. Camp/Lydia Panas/Lori Waselchuk “Humankind,” 339 S. 21st St., Philadelphia, PA 19103, 215/731-1530, www.gal- Main Line Art Center, 746 Panmure Rd., Haverford, PA 19041, lery339.com, T–Sat 10–6, through March 15. 610/525-0272, www.mainlineart.org, M–Th 10–8, F–Sun 10–4, through March 20. Reception, Friday, February 21, 6–8 PM. Panel Jefferson Hayman Wexler Gallery, 201 N. 3rd St., Philadelphia, Discussion and Book Signing, Wednesday, March 19, 6–8 PM. PA 19106, 215/923-7030, www.wexlergallery.com, T–Sat 10–6, M by appt., through March 1. Regina Joans “As I Go,” Twenty-Two Gallery, 236 S. 22nd St., Philadelphia, PA 19103, 215/772-1911, www.twenty-twogallery. com, W–Sun 12–6 and by appt., through March 9. ICA@50: Pleasing Artists and Publics Since 1963 Institute of Contemporary Art, 118 S. 36th St., Philadelphia, PA 19104, 215/898-7108, www.icaphila.org, W 11–8, Th–F 11–6, Sat–Sun 11–5, through August 17. Paul Justice “Breathing Pictures,” Gallery 1401, The Univer- sity of the Arts, 211 S. Broad St., 14th fl., Philadelphia, PA 19102, 215/717-6300, www.uarts.edu, M–F 10–5, Sat–Sun by appt., through March 14. Joel Katz: Unidentified spectators at a rally for Alabama governor George C. Wallace for president at the Mississippi Coliseum in Jackson, 25 June 1964, from “And I Said No Lord,” at The Galleries at Moore, Moore College of Art Rudolph Kalish, 1870. Kalish played third base for the Live Oak of Cincinnati and Design, Philadelphia in 1870, an amateur club that lost twice to the fabled Cincinnati Red Stock- ings (courtesy of Peter S. Horvitz), at the National Museum of American Joel Katz “And I Said No Lord,” The Galleries at Moore, Jewish History Moore College of Art and Design, 20th St. & the Parkway, Phila- Chasing Dreams: Baseball and Becoming American The delphia, PA 19103, 215/965-4027, www.moore.edu, T–F 11–7, Sat National Museum of American Jewish History, 101 South Inde- 11–5, through March 15. pendence Mall East, Philadelphia, PA 19106, 215/923-3811, www. nmajh.org, T–F 10–5, Sat–Sun 10–5:30, March 13 – October 26. Vita Litvak “Я Подарю Тебе Мир (I Will Give You the World) and Other Promises,” Atrium Gallery, Marshall Fine Arts Center, Alex Damevski “Paired,” Bucks County Project Gallery, 252 Haverford College, 370 Lancaster Ave., Haverford, PA 19041, W. Ashland St., Doylestown, PA 18901, 267/247-6634, www. 610/896-1267, www.haverford.edu, M–F 10–5, Sat–Sun 12–5, buckscountyprojectgallery.com, Th–F 12–4, F–Sat 1–5, through through April 20. February 28. Leah Macdonald “In My Body: Narratives, Anxieties, and Maria Dumlao/Jay Muhlin Vox Populi, 319 N. 11th St., 3rd fl., Celebrations,” Grace and Joseph Gorevin Fine Arts Gallery, Holy Philadelphia, PA 19107, 215/23 8-1236, www.voxpopuligallery. Spirit Library, Cabrini College, 610 King of Prussia Rd., Radnor, org, T–Sun 12–6, through March 2. PA 19087, 610/902-8380, www.cabrini.edu, through March 31. 2 Humankind © Lydia Panas 2005 © Donald E. Camp 2008 © Lori Waselchuk 2008 Featuring photographers Donald E. Camp, Lydia Panas, and Lori Waselchuk, Humankind presents works that uniquely address the human condition through qualities and genres inherent to the photographic tradition: social responsibility, portraiture, and the photo essay. Presented in collaboration with our new digital media program, this exhibition curated by Amie Potsic, features photography by accomplished artists whose work creatively engages the world of contemporary photography. 746 Panmure Rd., Haverford, PA 19041 RECEPTION: Friday, February 21, 6 - 8 pm GALLERY HOURS: ARTIST TALK & Monday - Thursday: 10 am to 8 pm BOOK SIGNING: Wednesday, March 19, 6 - 8 pm Friday - Sunday: 10 am to 4 pm Free and open to the public mainlineart.org 610.525.0272 facebook.com/mainlineart 3 PHILADELPHIA AREA continued Make & Do Philadelphia Photo Arts Center, 1400 N. Ameri- can St., Ste. 103, Philadelphia, PA 19122, 215/232-5678, www. philaphotoarts.org, T–W 10–9, Th–F 10–7, Sat–Sun 12–6, through February 22. Anne Leighton Massoni “Holding Pepina,” The Sol Mednick Gallery, University of the Arts, The Terra Building, 211 S. Broad St., 15th fl., Philadelphia, PA 19102, 215/717-6300, www.uarts. edu, M–F 10–5, Sat–Sun by appt., through March 14. Eric Mencher “Wallpaper,” Photo Lounge, 1909 Chestnut St., Philadelphia, PA 19103, 267/322-6651, www.myphotolounge.com, M–F 9:30–6:30, Sat 11–4, through March. Nikon Small World Exhibit 2014: Insight into a Microscopic World The Wistar Institute, 3601 Spruce St., Philadelphia, PA 19104, 215/898-3930, www.wistar.org, M–F 9–5, through March 7. Amie Potsic: Endagered Seasons (detail), from “Frost” at the Schuylkill Cen- ter for Environmental Education, Philadelphia B. Proud “First Comes Love,” William Way LGBT Community Center, 1315 Spruce St., Philadelphia, PA 19107, 215/732-2220, www.waygay.org, M–F 11–10, Sat–Sun 12–5, through February 28. Ruffneck Constructivists Institute of Contemporary Art, 118 S. 36th St., Philadelphia, PA 19104, 215/898-7108, www.icaphila.org, W 11–8, Th–F 11–6, Sat–Sun 11–5, through August 17. Jill Saull “Blink,” Imperfect Gallery, 5601 Greene St., Phila- delphia, PA 19144, 215/869-1001, W–Sat 1–6 or by appt., through March 8. Sensing Change Chemical Heritage Foundation, 315 Chestnut St., Philadelphia, PA 19106, 215/925-2222, www.chemheritage. org, Th 10–4, through May 2. Yinka Shonibare MBE “Magic Ladders,” The Barnes Founda- tion, 2025 Benjamin Franklin Parkway , Philadelphia, PA 19130, 215/278-7000, www.barnesfoundation.org, M, W & Th 10–6, F 10–10, Sat–Sun 10–8, through April 21. Michael Snow “Photo-Centric,” Honickman Gallery, Phila- delphia Museum of Art, 26th St. & the Parkway, Philadelphia, PA 19130, 215/684-7695, www.philamuseum.org, T–Sun 10–5, W & F 10–8:45, through April 27. Ruth Thorne Thomsen “Messengers,” Schmidt/Dean Gallery, 1719 Chestnut St., Philadelphia, PA 19103, 215/569-9433, www. schmidtdean.com, T–Sat 10:30–6, March 8 – April 12. Reception, Saturday, March 8, 3–6 PM. Tierra Reveladora Off the Wall Gallery@Dirty Frank’s Bar, 347 S. 13th St., Philadelphia, PA 19107, 11–2, through February 28. Includes photographs by Rick Wright. Brian H. Peterson: Interior Light #12, 2003, archival digital print (courtesy 2013 Drexel University High School Photography Contest Santa Bannon/Fine Art), at Ursinus College, Collegeville, PA Photography Gallery, Paul Peck Problem Solving and Research Brian H. Peterson “Only Connect,” The Philip and Muriel Bldg., 101 N. 33rd St., Philadelphia, PA 19104, 215/895-5868, M– Berman Museum of Art at Ursinus College, 601 E. Main St., Col- Sat 9–10, Sun 12–8, through March 10. legeville, PA 19426, 610/409-3500, www.ursinus.edu, T–F 1–4, Sarah Van Keuren “I Began with Painting,” The Sol Mednick Sat–Sun 12–4:30, through March 9. Gallery, University of the Arts, The Terra Building, 211 S. Broad Prison Obscura Cantor Fitzgerald Gallery, Haverford College, St., 15th fl., Philadelphia, PA 19102, 215/717-6300, www.uarts. 330 Lancaster Ave., Haverford, PA 19041, 610/896-1287, www. edu, M–F 10–5, Sat–Sun by appt., March 21 – April 25. haverford.edu/exhibits, M –F 11–5, W 11–8, Sat–Sun 12–5, through Frederick Weber “Domestic Views,” Gallery 1401, The Uni- March 7. versity of the Arts, 211 S. Broad St., 14th fl., Philadelphia, PA Amie Potsic “Frost,” The Schuylkill Center for Environmen- 19102, 215/717-6300, www.uarts.edu, M–F 10–5, Sat–Sun by tal Education, 8480 Hagy’s Mill Rd., Philadelphia, PA 19128, appt., March 21 – April 25. 215/482-7300, www.schuylkillcenter.org, M–Sun 8:30–4:30, through April 18. 4 PHILADELPHIA AREA continued Michael Bühler-Rose “Spirit & Matter,” Scaramouche Gallery, 52 Orchard St., NY, NY 10002, 212/228-2229, www.scaramou- cheart.com, W–Sat 12–6, Sun 1–5, and by appt., through March 30. Richard Caldicott “Recent Work,” Sous Les Etoiles, 560 Broadway, Ste. 603, NY, NY 10012, 212/966-0796, www.souslese- toilesgallery.net, M–F 10–6, through March 29. Lance W. Clayton Robin Rice Gallery, 325 W. 11th St., NY, NY 10014, 212/366-6660, www.robinricegallery.com, W–Sun 12–7, March 19 – April 27. Rick DeMint “Portroids,” The Impossible Project Space, 425 Broadway, 5th fl., NY, NY 10013, 212/219-3254, www.the-impos- sible-project.com, M–F 11–7, Sat 12–5, through March 27.
Load more

Recommended publications
  • SOPHIE CALLE Page 1
    SOPHIE CALLE page /1 SOPHIE CALLE Born in 1953, Paris, France Lives and works in Malakoff, France AWARDS 2019 Centenary Medal, Royal Photographic Society 2017 Infinity Award, InternaIonal Center of Photography 2010 Hasselblad Award, Hasselblad FoundaIon, Gothenburg, Sweden 2002 Spectrum InternaIonal Prize for Photography, FoundaIon of Lower Saxony, Germany SELECTED INDIVIDUAL EXHIBITIONS 2020 What Remains, Kunstmuseum, Ravensburg, Germany Because, Fraenkel Gallery, San Francisco, CA 2017 Musée de la Chasse, Paris, France Missing, Fort Mason Center for Arts & Culture, San Francisco, CA 2016 Histoires vraies, Théâtre Liberté, Toulon, France For the Last & First Time, Nagasaki Prefectural Art Museum, Nagasaki, Japan 2015 Sophie Calle, Fraenkel Gallery, San Francisco, CA For the Last & First Time, Toyota Municipal Museum of Art, Toyota, Japan Cuídese mucho, Centro Cultural Kirchner, Buenos Aires, ArgenIna Modus vivendi, La Virreina Centre de la Image, Barcelona, Spain Sophie Calle: North Pole, University of Michigan Museum of Art, Ann Arbor, MI Pour la dernière et pour la première fois, Musée d’art contemporain de Montréal, Montreal, Canada FRAENKELGALLERY.COM [email protected] SOPHIE CALLE page /2 2014 Sophie Calle, Makoto Aida, Galerie PerroIn, Hong Kong Cuídese mucho, Museo Tamayo, Mexico, Mexico MAdRE, Castello di Rivoli, Turin, Italy Sophie Calle, An Introducon, Un cabinet d’amateur, Sofia, Bulgaria Cuídese mucho, Museo de Arte Contemporáneo de Monterrey, Mexico Rachel Monique, Church of the Heavenly Rest, New York, NY Voir la mer,
    [Show full text]
  • Pouissant Claims Blacks Fear Psychiatric Help
    -FEBRUARY 15, 1973 GEORGIA STATE UNIVERSITY SIGNAL rAGE 3 Harvard Psychiatrist URGENT NANA WAS A GEORGIA STATE UNIVERSITY SOPHOMORE IN SPRING SEMESTER '71 AND Pouissant Claims Blacks HOPING TO GRADUATE AROUND MAY '73 IF YOU KNOW HER PLEASE HAVE NANA Fear Psychiatric Help Contact Joe Of Phila By GLADYS HAMMO DS Georgia State Univer ity last shrewd is called a sociopath, but a Thursday. wauStreer-broker who displayed LACKHOVE HALL "Black people are afraid of Dr. Poussain t, who i an the ame qualities is lauded as an psychiatry," announced Dr. Alvin SHIPPENSBURG STATE COLLEGE a sociate profe sor of psych iatry example of success. "One is Poussaint, a black psychiatrist legitimized, the other isn't." SHIPPENSBURG, PA. 17257 at Harvard Medical School, who ha written over S4 books poke on the relationship between There is a political meaning in and article, in a lecture at blacks and psychiatry as a part of standard 1.0. t e ts on which GSU' Bla k History Week ac- black score lower than whites by tiviue . an average of IS points, and in He added, "black have come research that purports to lay the Vincent Canoy of the New York Times says: 10 view p ychiatry in many of the blame for the difference on arne ways they view policemen." genetic inferiority, he asserted. Distrust of p ych iatr i t by Such research i "constantly "THE BEST AND THE MOST ORIGINAL giving ammunition to the forces blacks is because black have u ually come into contact with a of rea non." psychratrist only as a person who Dr.
    [Show full text]
  • Architectonic Forms MAURIZIO ANZERI: Lay It on the Line
    FOR IMMEDIATE RELEASE For all inquiries, please contact Irene Fung: [email protected] www.hainesgallery.com DARREN WATERSTON: Architectonic Forms MAURIZIO ANZERI: Lay it on the Line January 6 – February 25, 2017 Press Preview: Thursday, January 5, 5:00 pm Opening Reception: Thursday, January 12, 5:30 pm to 7:30 pm Haines Gallery is pleased to present two concurrent solo exhibitions, featuring new and recent works by Darren Waterston and Maurizio Anzeri. Architectonic Forms is New York-based artist Darren Waterston’s ninth solo exhibition with Haines Gallery, and follows his nationally touring installation Filthy Lucre, a reimagining of James McNeil Whistler’s eccentric masterwork of deco- rative art, the Peacock Room. Exhibited for the first time on the West Coast, Waterston’s newest body of work continues to explore the coalescence between painting and architecture in Western art history, while reflecting the artist’s sustained interest in the allegorical, alchemical and apocalyptic. In Architectonic Forms, Waterston draws directly from devotional architectural Darren Waterston, Triptych (twilight) and Predella, both 2014 structures such as Renaissance altarpieces, confessional screens and Gothic Oil on wood panel, 80 x 131 inches; 21.5 x 83.5 inches partitions, reinterpreting them as magnetic and even menacing painterly objects. Familiar religious iconography is transformed into apocalyptic land- scapes, gestural flourishes and paint-scarred surfaces characteristic of Waterston’s work. The centerpiece of the exhibition, Triptych (twilight), 2014, is based on Matthias Grünewald’s sixteenth century masterpiece, The Isenheim Altar, and casts a spectral halo from the back of its hinged panels. At once intriguing and foreboding, the works hint at something darker lurking beneath their surfaces and demonstrate paradoxical ideas of attraction and revulsion.
    [Show full text]
  • How I Learned to See: an (Ongoing) Education in Pictures
    For immediate release How I Learned to See: An (Ongoing) Education In Pictures Curated by Hanya Yanagihara Fraenkel Gallery 49 Geary Street, San Francisco June 30 – August 20, 2016 Fraenkel Gallery is pleased to present How I Learned to See: An (Ongoing) Education in Pictures, Curated by Hanya Yanagihara, from June 30 – August 20, 2016, at 49 Geary Street. The exhibition brings together a varied array of photographs that Yanagihara has chosen for their significance to her growth as an artist. The overarching theme is one of a writer looking deeply at other artists’ creative work—specifically, photographs—as a process of learning and discovery. Hanya Yanagihara is an American novelist whose most recent book, A Little Life, was a finalist for the 2015 National Book Award and shortlisted for the 2015 Man Booker Prize and the 2016 Baileys Prize for Fiction. She has been a periodic visitor to Fraenkel Gallery for 17 years. Yanagihara remarked: The challenge for any artist, in any medium, is to find work that inspires her to re-see the things and people and places she thought she knew or understood. So much of my artistic development is directly linked to the images and photographers I encountered through years of visiting Fraenkel Gallery; the work here has, in ways both direct and not, influenced my own fiction. How I Learned to See is organized by six sections or “chapters” on the subjects of loneliness, love, aging, solitude, beauty, and discovery. Yanagihara has selected an idiosyncratic mix, with iconic and less familiar works by 12 artists: Robert Adams, Diane Arbus, Elisheva Biernoff, Harry Callahan, Lee Friedlander, Nan Goldin, Katy Grannan, Peter Hujar, Ralph Eugene Meatyard, Richard Misrach, Nicholas Nixon, Alec Soth, and Hiroshi Sugimoto.
    [Show full text]
  • King, Michael Patrick (B
    King, Michael Patrick (b. 1954) by Craig Kaczorowski Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2014 glbtq, Inc. Reprinted from http://www.glbtq.com Writer, director, and producer Michael Patrick King has been creatively involved in such television series as the ground-breaking, gay-themed Will & Grace, and the glbtq- friendly shows Sex and the City and The Comeback, among others. Michael Patrick King. He was born on September 14, 1954, the only son among four children of a working- Video capture from a class, Irish-American family in Scranton, Pennsylvania. Among various other jobs, his YouTube video. father delivered coal, and his mother ran a Krispy Kreme donut shop. In a 2011 interview, King noted that he knew from an early age that he was "going to go into show business." Toward that goal, after graduating from a Scranton public high school, he applied to New York City's Juilliard School, one of the premier performing arts conservatories in the country. Unfortunately, his family could not afford Juilliard's high tuition, and King instead attended the more affordable Mercyhurst University, a Catholic liberal arts college in Erie, Pennsylvania. Mercyhurst had a small theater program at the time, which King later learned to appreciate, explaining that he received invaluable personal attention from the faculty and was allowed to explore and grow his talent at his own pace. However, he left college after three years without graduating, driven, he said, by a desire to move to New York and "make it as an actor." In New York, King worked multiple jobs, such as waiting on tables and unloading buses at night, while studying acting during the day at the famed Lee Strasberg Theatre Institute.
    [Show full text]
  • G a G O S I a N G a L L E R Y Hiroshi Sugimoto Biography
    G A G O S I A N G A L L E R Y Hiroshi Sugimoto Biography Born in 1948, Tokyo. Lives and works in New York. Education: 1972 BFA, Art Center College of Design, Los Angeles. 1966-1970 BA, Saint Paul's University, Tokyo. Solo Exhibitions: 2009 Lightning Fields, Gallery Koyanagi, Tokyo, Japan. Lightning Fields, Fraenkel Gallery San Francisco, CA. 2008 Hiroshi Sugimoto: Seven Days/Seven Nights, Gagosian Gallery, New York. Hiroshi Sugimoto, Museum der Moderne, Salzburg, Austria. Hiroshi Sugimoto, Neue Nationalgalerie, Berlin. Hiroshi Sugimoto, Kunstmuseum Luzern, Switzerland. Hiroshi Sugimoto: History of History, The National Museum of Art, Osaka, Japan. Travelled to: 21st century Museum of Contemporary Art, Kanazawa, Japan. 2007 Leakage of Light, Gallery Koyanagi, Tokyo. Hiroshi Sugimoto, K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany. Travlled to: Fine Arts Museum of San Francisco, Villa Manin Centro d’Arte Contemporanea, Udine, Italy. Hiroshi Sugimoto, Villa Manin, Passariano, Italy. Hiroshi Sugimoto: Colors of shadow, Fraenkel Gallery, San Francisco, CA. 2006 Hiroshi Sugimoto, Modern Art Museum, Fort Worth, TX. Hiroshi Sugimoto: Colors of Shadow, Sonnabend, New York. Hiroshi Sugimoto: Mathematical Forms, Galerie de l’Aterlier Brancusi, Paris. Hiroshi Sugimoto, Galerie Marian Goodman, Paris. Hiroshi Sugimoto:Joe, Gagosian Gallery, Beverly Hills. Hiroshi Sugimoto: Photographs of Joe, The Pulitzer Foundation for the Arts, St. Louis, MO. Hiroshi Sugimoto, Hirshhorn Museum and Sculpture Garden, Washington, D.C. Hiroshi Sugimoto: History of History, Arthur M. Sackler Gallery, The Smithsonian, Washington D.C. 2005 Hiroshi Sugimoto: History of History, Japan Society, New York. Hiroshi Sugimoto: Retrospective, Mori Art Museum, Tokyo. (through 2006) Conceptual Forms, Gagosian Gallery, London (Britannia Street) and Sonnabend Gallery, New York.
    [Show full text]
  • Hank Willis Thomas
    Goodman Gallery Hank Willis Thomas Biography Hank Willis Thomas (b. 1976, New Jersey, United States) is a conceptual artist working primarily with themes related to perspective, identity, commodity, media, and popular culture. Thomas has exhibited throughout the United States and abroad including the International Center of Photography, New York; Guggenheim Museum Bilbao, Spain; Musée du quai Branly, Paris; Hong Kong Arts Centre, Hong Kong, and the Witte de With Center for Contemporary Art, Netherlands. Thomas’ work is included in numerous public collections including the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Brooklyn Museum, New York; High Museum of Art, Atlanta, and National Gallery of Art, Washington D.C. His collaborative projects include Question Bridge: Black Males, In Search Of The Truth (The Truth Booth), Writing on the Wall, and the artist-run initiative for art and civic engagement For Freedoms, which in 2017 was awarded the ICP Infinity Award for New Media and Online Platform. Thomas is also the recipient of the Gordon Parks Foundation Fellowship (2019), the Guggenheim Foundation Fellowship (2018), Art for Justice Grant (2018), AIMIA | AGO Photography Prize (2017), Soros Equality Fellowship (2017), and is a member of the New York City Public Design Commission. Thomas holds a B.F.A. from New York University (1998) and an M.A./M.F.A. from the California College of the Arts (2004). In 2017, he received honorary doctorates from the Maryland Institute of Art and the Institute for Doctoral Studies in the Visual Arts. Artist Statement Hank Willis Thomas is an American visual photographer whose primary interested are in race, advertising and popular culture.
    [Show full text]
  • March 28, 2001 (III:10) Notable Recent Job Has Been Playing Tony Soprano’S Psychiatrist’S Psychiatrist
    PETER BOGDANOVICH (30 July 1939, Kingston, New York, USA ) most March 28, 2001 (III:10) notable recent job has been playing Tony Soprano’s psychiatrist’s psychiatrist. “Many French cineasts and film critics went on to become major filmmakers, but in America only one such scholar made that transition: Peter Bogdanovich. This lifelong film buff wrote dozens of articles, books, and program notes about Hollywood before settling there in the mid 1960s. He fell in with producer Roger Corman, becoming a jack-of-all-trades on The Wild Angels (1966) and reworking a Russian sci-fi epic into Voyage to the Planet of Prehistoric Women (1967). Bogd anov ich's first real film was the suspenseful Targets (1968), which he directed, produced, and cowrote with then-wife Polly Platt. After making a documentary, Directed by John Ford (1971), he directed the melancholy Larry McMurtry story The Last Picture Show (1971), which becam e a major critical and commercial hit…. “Celebrated as Hollywood's latest wunderkind, he made two more big hits: the screwball farce What's U p, Doc? (1972) and another period piece, Paper Moon (1973), which brought an Oscar to debuting Tatum O'Neal. Both films were very much dependent on references to earlier films and directors, but there was no denying his superb craftsmanship and assu red handling of actors. Bu t it was perceived that his relationship with Cybill Shepherd led to his undoing. Two Shepherd vehicles-Daisy Miller (1974) and At Long Last Love (1975)-were major stiffs, and the well-intentioned Nickelodeon (1976) was pronounced D.O.A.
    [Show full text]
  • Responses to the RFI
    Embarcadero Historic District Request for Interest Responses to the RFI 1 Port of San Francisco Historic Piers Request for Interest Responses Table of Contents Contents #1. Ag Building / Ferry Plaza: Ferry Plaza 2.0 ................................................................................................................................................................. 4 #2. Red and White Excursions ..................................................................................................................................................................................... 31 #3. Piers 38-40: Restaurants and Recreation At South Beach ..................................................................................................................................... 34 #4. Heart of San Francisco Gondola ............................................................................................................................................................................. 47 #5. The Menlo Companies ........................................................................................................................................................................................... 50 #6. The International House of Prayer For Children ................................................................................................................................................... 53 #7 Plug and Play SF (Co-working space for startups) ..................................................................................................................................................
    [Show full text]
  • P H O T O N E W S L E T T
    The PHOTO REVIEW NEWSLETTER July / August 2017 Michael Nichols Charger, Bandhavgarh National Park, India, 1996, inkjet print mounted on Dibond (© Michael Nichols/National Geographic) From “Wild” at the Philadelphia Museum of Art Exhibitions PHILADELPHIA AREA T. R. Ericsson The Print Center, 1614 Latimer St., Philadel- phia, PA 19103, 215/735-6090, www.printcenter.org, T–Sat 11–6, Annual Alumni Exhibition The Galleries at Moore, Moore through August 6. College of Art and Design, 20th St. & the Parkway, Philadelphia, PA 19103, 215/965-4027, www.moore.edu, M–Sat 11–5, through Judy Gelles “Fourth Grade Project in Yakima, Washington,” August 19. The Center for Emerging Visual Artists, Bebe Benoliel Gallery at the Barclay, 237 S. 18th St., Suite 3A, Philadelphia, PA 19103, Another Way of Telling: Women Photographers from the Col- 215/546-7775, www.cfeva.org, M–F 11–4, through July 28. lection The Philadelphia Museum of Art, Perelman Building, Julien Levy Gallery, 2525 Pennsylvania Ave., Philadelphia, PA Christopher Kennedy “Re-Imagined,” The Studio Gallery, 19130, 215/684-7695, www.philamuseum.org, T–Sun 10–5, W & 19 W. Mechanic St., New Hope, PA 18930, 215/738-1005, thestu- F 10–8:45, through July 16. dionewhope.com, W–Sun 11–6, through July 30. A Romantic Youth: Advanced Teen Photo Philadelphia Photo Arts Center, 1400 N. American St., Ste. 103, Philadelphia, PA 19122, 215/232-5678, www.philaphotoarts.org, T–Sat 10–6, through July 8. Christopher Kennedy: A Vision of Cubicity, from Impalpable Light at the Bazemore Gallery, Manayunk, PA Christopher Kennedy “Impalpable Light,” The Bazmore Gal- lery, 4339 Main St., Manayunk, PA 19127, 215/482-1119, www.
    [Show full text]
  • Recollecting the Museum of the Moving Image
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2009 Under construction: recollecting the museum of the moving image Andr&eacutee Elise Comiskey Betancourt Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Communication Commons Recommended Citation Betancourt, Andr&eacutee Elise Comiskey, "Under construction: recollecting the museum of the moving image" (2009). LSU Doctoral Dissertations. 2029. https://digitalcommons.lsu.edu/gradschool_dissertations/2029 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. UNDER CONSTRUCTION: RECOLLECTING THE MUSEUM OF THE MOVING IMAGE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Communication Studies by Andrée Elise Comiskey Betancourt B.A., Smith College, 1999 M.A., University College Dublin, 2002 August 2009 ©Copyright 2009 Andrée Elise Comiskey Betancourt All rights reserved. ii To John Egil Betancourt a) For promoting the art of outlining b) For the sweet, steady sunshine that nurtures my work c) For serving
    [Show full text]
  • One Moment Erica Deeman Was an Intern at Pier 24 Photography. the Next, She Was a Featured Artist There, Her Portraits of Women
    One moment Erica Deeman was an intern at Pier 24 Photography. The next, she was a featured artist there, her portraits of women from the African diaspora shown in their own gallery between ones dedicated to famous photographers Robert Frank and William Eggleston. For someone who had never taken a serious picture until four years ago, having 11 oversize color prints on display at one of the largest spaces in the world dedicated to photography amounts to a Horatio Alger story, especially since her pictures were made with a borrowed camera. “This is something that I could not have imagined in this short a time frame, and at such a prestigious establishment” says Deeman, who is 39 and just two years out of the Academy of Art University. The portfolio, called “Silhouettes,” fulfilled a graduation requirement for her bachelor’s of fine arts. It was not a graduation requirement that she also work for free at a gallery, but she did, pulling a 9 to 5 shift one day a week at Pier 24. She’d been there for nine months before she brought in her portfolio to show to another gallery, after work. She had stashed the portfolio with her coat and was headed out the door when Christopher McCall, the director of Pier 24, noticed her carrying it. “I was on my way to show my portfolio to somebody, and Chris said, ‘Why don’t you show me?’” recalls Deeman, who is from industrial Nottingham, England, (Robin Hood’s hometown) and is hesitant to self-promote in the brash American way.
    [Show full text]